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The Dangerous Discourse of Dianetics: Linguistic Manifestations of Violence Toward Queerness in the Canonical Religious Philosophy of Scientology
Relics, Remnants, and Religion: An Undergraduate Journal in Religious Studies Volume 2 Issue 2 Article 4 5-5-2017 The Dangerous Discourse of Dianetics: Linguistic Manifestations of Violence Toward Queerness in the Canonical Religious Philosophy of Scientology Francesca Retana University of Puget Sound, [email protected] Follow this and additional works at: https://soundideas.pugetsound.edu/relics Recommended Citation Retana, Francesca (2017) "The Dangerous Discourse of Dianetics: Linguistic Manifestations of Violence Toward Queerness in the Canonical Religious Philosophy of Scientology," Relics, Remnants, and Religion: An Undergraduate Journal in Religious Studies: Vol. 2 : Iss. 2 , Article 4. Available at: https://soundideas.pugetsound.edu/relics/vol2/iss2/4 This Article is brought to you for free and open access by the Student Publications at Sound Ideas. It has been accepted for inclusion in Relics, Remnants, and Religion: An Undergraduate Journal in Religious Studies by an authorized editor of Sound Ideas. For more information, please contact [email protected]. Retana: The Dangerous Discourse of Dianetics: Linguistic Manifestations Page 1 of 45 The Dangerous Discourse of Dianetics: Linguistic Manifestations of Violence Toward Queerness in the Canonical Religious Philosophy of Scientology I. Uncovering the Anti-Queer Sentiment in the Dianetic Perspective At present, there is a groundswell of public sensational interest in the subject of Scientology; and, in fact, in the time since I began this research paper, a nine-episode documentary series has premiered and reached finale on A&E titled “Scientology and the Aftermath”— a personal project hosted by sitcom celebrity, ex-Scientologist, and author of Troublemaker: Surviving Hollywood and Scientology, Leah Remini.1 I could not begin to enumerate the myriad exposés/memoirs of ex-Scientologists that have been published in recent years nor could I emphasize enough the rampant conspiracy theories that are at the disposal of any curious mind on what many have termed “the cult” of Scientology. -
The Village Voice October 2019
VOLUME 28, NUMBER 3 INDIAN SPRINGS VILLAGE, ALABAMA OCTOBER 2019 ISSUE EDITOR’S NOTES The Village Voice is the oicial organ of MESSAGE FROM THE MAYOR Indian Springs Village, AL, established Happy Fall, Villagers! Maybe one day soon Mother October 16, 1990. The mission of this newsletter is to foster a spirit of community Nature will remember! Recently someone asked me what and co-operation. It is the vehicle for was so unique about Indian Springs. The first thing that reporting the monthly deliberations of the came to mind was the peaceful, serene nature of our town mayor and council in town council meetings; additionally it provides these with Oak Mountain as a backdrop to rolling pastures and oicials and other Villagers a means of quiet neighborhoods. But there is so much more! I have communicating – it is a “voice.” told friends from out of state that living in Indian The Village Voice is published four times Springs is like living in the country while having all the per year. All materials submitted for advantages of living in a city. We have the best Fire and publication may be edited, including letters to the editor, which must be signed and give Sheriff Departments you could ask for. Our county writer’s address and phone number: All schools are top notch. Indian Springs School is known opinions expressed in this newsletter are those of the authors of articles. nationally and internationally, and we are also blessed to have other choice schools such as Our Lady of the Valley Letters to the editor and news items can be and Montessori. -
Damien Hirst E Il Mercato Dell'arte Contemporanea: La Carriera Di Un Young British Artist
Corso di Laurea magistrale (ordinamento ex D.M. 270/2004) in Economia e Gestione delle Arti e delle attività culturali Tesi di Laurea DAMIEN HIRST E IL MERCATO DELL'ARTE CONTEMPORANEA: LA CARRIERA DI UN YOUNG BRITISH ARTIST Relatore Prof. Stefania Portinari Laureanda Martina Pellizzer Matricola 816581 Anno Accademico 2012 / 2013 1 INDICE INTRODUZIONE p. 3 CAPITOLO 1 ALCUNE RIFLESSIONI SUL MERCATO DELL'ARTE CONTEMPORANEA: ISTITUZIONI E STRUTTURE DI PROMOZIONE E VENDITA 1 L'Evoluzione del sistema delle gallerie e della figura del gallerista p. 3 2. Il ruolo dei musei p. 19 3 Il ruolo dei collezionisti p. 28 4 Le case d'asta p. 36 CAPITOLO 2 DAMIEN HIRST: DA A THOUSAND YEARS (1990) A FOR THE LOVE OF GOD (2007) 1 Il sistema dell'arte inglese negli anni Novanta: gli Young British Artist …........p. 41 2 Damien Hirst una carriera in ascesa, da “Frezze” alla retrospettiva presso la Tate Modern p. 47 3 I galleristi di Damien Hirst p. 67 CAPITOLO 3 IL RUOLO DEL MERCATO DELL'ARTE NELLA CARRIERA DI DAMIEN HIRST 1 L'asta di Sotheby's: “Beautiful inside my head forever” p. 78 2 Rapporto tra esposizione e valore delle opere dal 2009 al 2012..............................p. 97 CONCLUSIONI p. 117 APPENDICE p. 120 BIBLIOGRAFIA p. 137 2 INTRODUZIONE Questa tesi di laurea magistrale si pone come obiettivo di analizzare la carriera dell'artista inglese Damien Hirst mettendo in evidenza il ruolo che il mercato dell'arte ha avuto nella sua carriera. Il primo capitolo, dal titolo “Alcuni riflessioni sul mercato dell'arte contemporanea”, propone una breve disanima sul funzionamento del mercato dell'arte contemporanea, analizzando in particolar modo il ruolo di collezionisti, galleristi, istituzioni museali e case d'asta, tutti soggetti in grado di influenzare notevolmente la carriera di un artista, anche se in maniera differente. -
D Administrator Responds to Resident Survey ]
2950 E. Twelve Mile Rd. • Warren, Michigan 48092 • June 2019 www.pvm.org D Administrator Responds to Resident Survey ] Residents had good questions and concerns during the survey; here is Advocacy pg. 11 the latest batch of my answers. Birthdays pg. 9 Help button only works inside the building. Faith pg. 2 That is true, but the help button does work inside the building and everyone should be thankful for it, especially since there is no cost to Maintenance pg. 3 residents. Not all senior buildings provide devices. As technology New Resident pg. 3 improves and prices drop, perhaps in time we can get GPS technology on the help button. And remember: the help button only works if you Recipe pg. 4 wear it especially in the shower where many falls occur. Word Search pg. 8 Apartments are not equipped with fire extinguishers. Each apartment has a smoke alarm, two fire cans under the stove hood, multiple sprinklers and a fire-rated front door. Many people would not be able to use fire extinguishers so in buildings such as ours, having the automatic sprinklers in the apartments is safer. The public areas (hallways, stairways, etc.) have hard-wired smoke alarms, automatic lights, sprinklers, automatic fire doors, fire extinguishers and a sophisticated fire alarm system. We contract with Erlich Protection Systems, Fire Systems of Michigan and Fire Extinguisher Sales and Service for yearly equipment and system inspections. The City of Warren Fire Marshall visits yearly and makes sure that these inspections have taken place. Residents can feel secure because of the care put into the building’s fire safety plan. -
Eminem 1 Eminem
Eminem 1 Eminem Eminem Eminem performing live at the DJ Hero Party in Los Angeles, June 1, 2009 Background information Birth name Marshall Bruce Mathers III Born October 17, 1972 Saint Joseph, Missouri, U.S. Origin Warren, Michigan, U.S. Genres Hip hop Occupations Rapper Record producer Actor Songwriter Years active 1995–present Labels Interscope, Aftermath Associated acts Dr. Dre, D12, Royce da 5'9", 50 Cent, Obie Trice Website [www.eminem.com www.eminem.com] Marshall Bruce Mathers III (born October 17, 1972),[1] better known by his stage name Eminem, is an American rapper, record producer, and actor. Eminem quickly gained popularity in 1999 with his major-label debut album, The Slim Shady LP, which won a Grammy Award for Best Rap Album. The following album, The Marshall Mathers LP, became the fastest-selling solo album in United States history.[2] It brought Eminem increased popularity, including his own record label, Shady Records, and brought his group project, D12, to mainstream recognition. The Marshall Mathers LP and his third album, The Eminem Show, also won Grammy Awards, making Eminem the first artist to win Best Rap Album for three consecutive LPs. He then won the award again in 2010 for his album Relapse and in 2011 for his album Recovery, giving him a total of 13 Grammys in his career. In 2003, he won the Academy Award for Best Original Song for "Lose Yourself" from the film, 8 Mile, in which he also played the lead. "Lose Yourself" would go on to become the longest running No. 1 hip hop single.[3] Eminem then went on hiatus after touring in 2005. -
Tate Papers - the 'Comic Sublime': Eileen Agar at Ploumanac'h
Tate Papers - The 'Comic Sublime': Eileen Agar at Ploumanac'h http://www.tate.org.uk/research/tateresearch/tatepapers/05autumn/walke... ISSN 1753-9854 TATE’S ONLINE RESEARCH JOURNAL The 'Comic Sublime': Eileen Agar at Ploumanac'h Ian Walker Fig.1 Eileen Agar 'Rockface', Ploumanach 1936 Black and white photograph reproduced from original negative Tate Archive Photographic Collection 5.4.3 © Tate Archive 2005 On Saturday 4 July 1936, the International Surrealist Exhibition in London came to an end. In that same month, the Architectural Review magazine announced a competition. In April, they had published Paul Nash's article 'Swanage or Seaside Surrealism'.1 Now, in July, the magazine offered a prize for readers who sent in their own surrealist holiday photographs – 'spontaneous examples of surrealism discerned in English holiday resorts'. The judges would be Nash and Roland Penrose .2 At face value, this could be taken as a demonstration of the irredeemable frivolity of surrealism in England (it is difficult to imagine a surrealist snapshot competition in Paris judged by André Breton and Max Ernst ). But in a more positive light, it exemplifies rather well the interest that the English had in popular culture and in pleasure. Holidays were very important in English surrealism and some of its most interesting work was made during them. This essay will examine closely one particular set of photographs made by Eileen Agar in that month of July 1936 which illustrate this relationship between surrealism in England and pleasure. Eileen Agar had been one of the English stars of the surrealism exhibition, even though she had apparently not thought of herself as a 'surrealist' until the organizers of the show – Roland Penrose and Herbert Read – came to her studio and declared her to be one. -
The Spark of Stonewall
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by James Madison University James Madison University JMU Scholarly Commons Proceedings of the Sixth Annual MadRush MAD-RUSH Undergraduate Research Conference Conference: Best Papers, Spring 2015 A Movement on the Verge: The pS ark of Stonewall Tiffany Renee Nelson James Madison University Follow this and additional works at: http://commons.lib.jmu.edu/madrush Part of the Social History Commons Tiffany Renee Nelson, "A Movement on the Verge: The pS ark of Stonewall" (April 10, 2015). MAD-RUSH Undergraduate Research Conference. Paper 1. http://commons.lib.jmu.edu/madrush/2015/SocialMovements/1 This Event is brought to you for free and open access by the Conference Proceedings at JMU Scholarly Commons. It has been accepted for inclusion in MAD-RUSH Undergraduate Research Conference by an authorized administrator of JMU Scholarly Commons. For more information, please contact [email protected]. A Movement on the Verge: The Spark of Stonewall The night of Saturday, June 28, 1969, the streets of Central Greenwich Village were crowded with angered gay men, lesbians, “flame queens”, and Trans*genders. 1 That was the second day of disorder of what would later be called the Stonewall Riots. Centering around Christopher Street’s bar for homosexuals, the Stonewall Inn, the riots began the night before on June 27 and lasted until July 2. These five days of rioting were the result of decades of disdain against the police force and the general population that had oppressed the gay inhabitants of New York City. -
This Book Is a Compendium of New Wave Posters. It Is Organized Around the Designers (At Last!)
“This book is a compendium of new wave posters. It is organized around the designers (at last!). It emphasizes the key contribution of Eastern Europe as well as Western Europe, and beyond. And it is a very timely volume, assembled with R|A|P’s usual flair, style and understanding.” –CHRISTOPHER FRAYLING, FROM THE INTRODUCTION 2 artbook.com French New Wave A Revolution in Design Edited by Tony Nourmand. Introduction by Christopher Frayling. The French New Wave of the 1950s and 1960s is one of the most important movements in the history of film. Its fresh energy and vision changed the cinematic landscape, and its style has had a seminal impact on pop culture. The poster artists tasked with selling these Nouvelle Vague films to the masses—in France and internationally—helped to create this style, and in so doing found themselves at the forefront of a revolution in art, graphic design and photography. French New Wave: A Revolution in Design celebrates explosive and groundbreaking poster art that accompanied French New Wave films like The 400 Blows (1959), Jules and Jim (1962) and The Umbrellas of Cherbourg (1964). Featuring posters from over 20 countries, the imagery is accompanied by biographies on more than 100 artists, photographers and designers involved—the first time many of those responsible for promoting and portraying this movement have been properly recognized. This publication spotlights the poster designers who worked alongside directors, cinematographers and actors to define the look of the French New Wave. Artists presented in this volume include Jean-Michel Folon, Boris Grinsson, Waldemar Świerzy, Christian Broutin, Tomasz Rumiński, Hans Hillman, Georges Allard, René Ferracci, Bruno Rehak, Zdeněk Ziegler, Miroslav Vystrcil, Peter Strausfeld, Maciej Hibner, Andrzej Krajewski, Maciej Zbikowski, Josef Vylet’al, Sandro Simeoni, Averardo Ciriello, Marcello Colizzi and many more. -
Art and Design (Short Course) Unit 2: Externally Set Assignment in Art and Design
Edexcel GCSE Art and Design (Short Course) Unit 2: Externally Set Assignment in Art and Design June 2010 – Examination Paper Reference Preparatory period: Approximately 20 hours Sustained focus: 10 hours 5FA04–5GC04 You do not need any other materials. Instructions • This paper should be given to the teacher-examiner for confidential reference AS SOON AS IT IS RECEIVED in the centre in order to plan for the candidates’ preparatory studies period. • This paper is also available on the Edexcel website from January 2010. • Centres are free to devise their own preparatory period of study prior to the 10 hours of sustained focus. • The paper may be given to candidates as soon as it is received, at the centre’s discretion. Edexcel GCSE (Short Course) in Art and Design: Fine Art (5FA04) Edexcel GCSE (Short Course) in Art and Design: Three-Dimensional Design (5TD04) Edexcel GCSE (Short Course) in Art and Design: Textile Design (5TE04) Edexcel GCSE (Short Course) in Art and Design: Photography – Lens and Light-based Media (5PY04) Edexcel GCSE (Short Course) in Art and Design: Graphic Communication (5GC04) Turn over M37313A ©2010 Edexcel Limited. *M37313A* 6/6/6/6/4/ M37313A_GCSE_Art_Design_Unit_2_S1 1 07/10/2009 11:23:57 Candidate guidance Your teacher will be able to teach, guide and support you as you prepare your personal response. You may also complete preparatory work without direct supervision. The preparatory period The process of producing work for assessment may begin once you receive this paper. You should develop your response to the theme in a personal, creative way. The preparatory period consists of approximately 20 hours. -
Jane Simpson
JANE SIMPSON Born in London, 1965 Lives and works in London Education 1990 - 93 Royal Academy Schools, London, Postgraduate Diploma 1985 - 88 Chelsea School of Art, London, BA Hons, Fine Art Degree Residencies and Awards 2001 Artist in residency, The Shoreditch Town Hall Trust, London 2000 Professor, Konsthögskolan, Stockholm 1999 IAPSIS fellow to Göteborg, Sweden (based in Valand School of Art) 1998 - 99 Visiting Professor, Kunstakademi, Trondheim Solo Exhibitions 2011 A Wolf in Sheep’s Clothing, Four All Saints, London 2008 My Inheritance and Other Bloody Tales, Gering & López Gallery, New York 2006 still, Still Llife, Galería Javier López, Madrid 2005 A Three Way conversation with myself, New Art Centre Sculpture Park & Gallery, Roche Court, Salisbury 2004 Tableau, CAC - Centro de Arte Contemporáneo, Málaga Somewhere (between freezing and melting) there lies passion, Sandra Gering Gallery, New York 2003 En algún lugar (entre el hielo y el deshielo) se encuentra la pasión, Galería Javier López, Madrid 2002 Fresh, fresher, Gagosian Gallery, London 2001 One in the Other, London 2000 Asprey Jacques, London Fresh, Galería Javier López, Madrid Stenashalle, Göteborgs Konstmuseum, Göteborg, Sweden 1999 It only takes a minute (to reach a natural high), Norrtälje Konsthall, Sweden 1998 Folly, The Approach, London 1996 Material Girl, Laurent Delaye, London 1994 Jane Simpson Invites You, Marc Jancou Gallery, London 1993 Eager to Please, Jibby Beane Gallery, London Colective exhibitions 2012 Gravity and Disgrace: Rachel Howard, Jane Simpson and Amelia Newton Whitelaw, Blain | Southern, London 2011 Aphasic Disturbance, Chelsea space, Chelsea College of Art and Design, London 2010 The House of Fairy Tales -exquisite trove, Newlyn Art Gallery, Newlyn; Millenium, St. -
STONEWALL INN, 51-53 Christopher Street, Manhattan Built: 1843 (51), 1846 (53); Combined with New Façade, 1930; Architect, William Bayard Willis
Landmarks Preservation Commission June 23, 2015, Designation List 483 LP-2574 STONEWALL INN, 51-53 Christopher Street, Manhattan Built: 1843 (51), 1846 (53); Combined with New Façade, 1930; architect, William Bayard Willis Landmark Site: Borough of Manhattan, Tax Map Block 610, Lot 1 in part consisting of the land on which the buildings at 51-53 Christopher Street are situated On June 23, 2015 the Landmarks Preservation Commission held a public hearing on the proposed designation of the Stonewall Inn as a New York City Landmark and the proposed designation of the related Landmark Site (Item No.1). The hearing had been duly advertised in accordance with the provisions of the law. Twenty-seven people testified in favor of the designation including Public Advocate Letitia James, Council Member Corey Johnson, Council Member Rosie Mendez, representatives of Comptroller Scott Stringer, Congressman Jerrold Nadler, Assembly Member Deborah Glick, State Senator Brad Hoylman, Manhattan Borough President Gale A. Brewer, Assembly Member Richard N. Gottfried, the Greenwich Village Society for Historic Preservation, the Real Estate Board of New York, the Historic Districts Council, the New York Landmarks Conservancy, the Family Equality Council, the National Trust for Historic Preservation, the National Parks Conservation Association, SaveStonewall.org, the Society for the Architecture of the City, and Parents and Friends of Lesbians and Gays, New York City, as well as three participants in the Stonewall Rebellion—Martin Boyce, Jim Fouratt, and Dr. Gil Horowitz (Dr. Horowitz represented the Stonewall Veterans Association)—and historians David Carter, Andrew Dolkart, and Ken Lustbader. In an email to the Commission on May 21, 2015 Benjamin Duell, of Duell LLC the owner of 51-53 Christopher Street, expressed his support for the designation. -
Scaling the Sublime: Art at the Limits of Landscape
SCALING THE SUBLIME: ART AT THE LIMITS OF LANDSCAPE SCALING THE SUBLIME: ART AT THE LIMITS OF LANDSCAPE Martin John Callanan Simon Faithfull Tim Knowles Mariele Neudecker Rebecca Partridge Katie Paterson Richard T Walker Curated by Rebecca Partridge and Nicholas Alfrey SCALING THE SUBLIME: ART AT THE LIMITS OF LANDSCAPE DJANOGLY GALLERY NOTTINGHAM LAKESIDE ARTS 05 Foreword As Nicholas Alfrey has highlighted at the beginning of his essay, Scaling the Sublime originated in another earlier exhibition Reason and Emotion: Landscape and the Contemporary Romantic . Mounted at the Kunstverein Springhornhof, Germany, in 2013, the exhibition was curated by Rebecca Partridge with Randi Nygärd and Bettina van Dziembowski. Since that time Nicholas and Rebecca have been discussing ways in which they might re-focus and develop its themes, refine the selection of artists and bring it to a British audience. Subsequently, there have been a number of exhibitions in Britain and overseas exploring the theme of contemporary responses to landscape and the legacy of Romanticism, often as mediated through the more recent Land art. These include Land’s End (Chicago, 2015); Setting Out (New York, 2015); In Search of the Miraculous (Newlyn Art Gallery, 2015) and Terrain: Land into Art (Hestercombe Gallery, Somerset, 2016). Scaling the Sublime does not attempt to re-trace the ground covered by these recent shows; instead it brings together the work of artists who are closely linked by their creative and in some cases personal affinities, but who have never been shown together as a group in this way before. In terms of the Djanogly Gallery’s own history, this exhibition also forms part of a strong lineage of landscape-themed surveys reaching back to its inception at the beginning of the 1990s and reflects to a large extent the strengths of teaching and research in the Art History department and the strong emphasis on Cultural Geography in the School of Geography at the University of Nottingham.